Film Flare's Film Diary 2013/33

She weighed nothing in my arms. I sat down on the couch and held her close. She tried to get out of my grip when I told her that Sugar Joe was heading for the cells. I held her tightly and she soon settled down,

"Why didn't you kill him like I asked?" she breathed at me.

I looked at her gently,

"I told him and I'll tell you. I don't kill people anymore. You're a doll but I'm not like that any more."

She fell quiet so leant in and kissed her. I told her he wasn't going to get out anytime soon. 

I let her go and left. The D.A was waiting in a car downstairs and I didnt' want to keep him waiting, I may have a case for me.

 

Oh! It's the last noir review of the week and this week, I'm stumbling blindly into neo-noir with:

 

L.A Confidential (1997)

 

Directed by Curtis Hanson, this film is based on the complex James Ellroy novel of the same name. The novel is actually surprisingly different in many of the plot points although the film retains many of the themes, scenes and elements of the novel.

 

One of the main differences between L.A. Confidential and the previous film noir films reviewed this week is that this film explores with far more detail the psychology of the main characters themselves, not just their history but their minds, emotions and psychological profiles. Whilst the three main characters initially appear to be three 'stock' type characters, they grow, mature and change over the course of the film. Certainly, most of the anti hero characters in the noir films end the film very similar to how they were when the film started. They may have been beaten up, or solved a crime, or witnessed murders but they don't really change from hardboiled Private Eye or whatever.

It's certainly one of the most noticeable differences between this film and the previous noir films.

 

This film also makes fantastic use of colour, something the films from the 40s of course didn't have access to.  The film drips with bright colours, when coupled with the fantastic set design gives the film an incredible look. In the middle of this, you have a cast that is picked to perfection. Guy Pierce is perfect as the uptight and cold career man who slowly gets more tough and cynical. Kevin Spacey is cool, suave and debonair, the closest to the classic film noir characters in this film. Russell Crowe is a beast of a man, his physical presence is outstanding and he works well off the other leads. The peripheral characters work well too, Kim Basinger is sultry, mysterious and intelligent in her role. 

 

The film has so many classic elements of noir films, the mood and characters could have jumped straight into the black and white frames. It's the more mature, violent and psychological elements that lift it from that genre.

By itself though, you have an incredibly well written and directed film which is cast to perfection and treats you like an adult to present a complex and mature crime story. One of my all time favourites.

 

So over the weekend, I'll be talking about the Hayes Code (as previously mentioned) and it's influence on the noir films covered this week.

 

By the way, here's the L.A. Confidential trailer:

 

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